Guide to Minolta Cameras or What They Didnt Tell Us in Their Docs

Compiled by Petr Holub

2002 2003
This guide is based on experiences of people around the Internet mostly from Minolta Yahoo group. This guide is dedicated to this group in hope that it could help to bring back discussions to the photography instead of lost expectations about D-SLRs and similar things.
I WOULD LIKE TO THANK TO all the people that contributed to this guide in any way and all the people that participate in Minolta Yahoo group discussions. P. H.

Contents

I would like to thank to. Contents List of Tables List of Figures 1 Foreword 2 Information on bodies and lenses 2.1 Minolta AF bodies. 2.1.1 Overview of Minolta AF bodies. 2.1.2 Batteries for Minolta equipment. 2.2 Minolta Dynax/Maxxum 600si (507si, 650si). 2.2.1 Beyond the Owners Manual: Tips and Tricks 2.3 Dynax/Maxxum Lens Chart. 2.3.1 G Series. 2.3.2 D-Series. 2.3.3 RS = Re-Styled Lenses. 2.3.4 Maxxum Lens Glossary. i ii iv v 27 27
3 Flash-less photography 3.1 Photographing with M42 / Minolta AF lens reduction. 3.1.1 Comment on M42. 3.2 More on photographing with M42 / Minolta AF lens reduction 3.3 Alternative testing of vignetting. 3.4 Setting Minolta DiMAGE Scan Dual with VueScan. 3.4.1 Scanning Fuji Provia. 3.5 Minolta mounts. 3.6 Disabling the lens mount check. 3.7 Remote release cord. 3.7.1 Building your own Remote Cord (v. 1). 3.7.2 Building your own Remote Cord (v. 2). 3.7.3 Building your own Remote Cord (v. 3). 4 Flash photography 4.1 FlashAmbient Control 4.1.1 P Mode Flash. 4.1.2 A Mode Flash. 4.1.3 S Mode Flash. 4.1.4 M Mode Flash 4.1.5 Fill Flash.

CONTENTS

4.2 4.3
4.1.6 Slow-Shutter Sync. 4.1.7 Other comment. Short summary on using ll-in ash. Short summary on using wireless ash
A Flash-less experiments A.1 INI les for Minolta DiMAGE Scan Dual with VueScan A.1.1 Settings for Fuji Provia 100F. A.1.2 Settings for Konica Centuria 100. A.1.3 Settings for Konica Centuria 200. A.1.4 Settings for Konica Centuria 400. A.1.5 Settings for Konica VX 100. A.1.6 Settings for Fuji Superia 1600. A.2 Reciprocity Corrections Brooks Institute. B Flash experiments B.1 Wireless ash experiment. B.1.1 Experiment setup. B.1.2 Experiment results and discussion. B.2 Flash Test ADI/Pre-Flash/Bounce/Wireless.
Bibliography Literature about Minolta and Minolta-compatible equipment Web links about Minolta and Minolta-compatible equipment Camera bodies. Lens. Flash. Interesting books on photography.

List of Tables

2.1 2.2 2.3 2.4 2.5 2.6 2.7 2.8 2.9 2.10 2.11 3.1 3.2 4.1 4.2 Minolta AF Bodies in Chronological Release Date Order Batteries for Minolta equipment. Fixed focal length lenses. Zoom lenses. Macro lenses. Teleconvertors. xi zoom lenses. G lenses (I). G lenses (II). G lenses (III). D lenses. 45
VueScan parameters for scanning Fuji Provia using Minolta Scan Dual. Disabling the lens mount check. Flashambient compensations performed by camera. Changing Program Flash Control with the Custom xi card.
A.1 Reciprocity Corrections Brooks Institute (1/2). A.2 Reciprocity Corrections Brooks Institute (2/2). B.1 B.2 B.3 B.4 B.5 B.6 Wireless ash experiment setup. Wireless ash experiment: observations of camera and ashes behavior Wireless ash experiment: results. Flash experiment: 2485 lens. Flash experiment: 2880D lens. Flash experiment: Wireless.

List of Figures

3.1 3.2 Results of M42 adapter tests (1). Results of M42 adapter tests (2). 40
B.1 Wireless ash experiment setup.

Chapter 1

Foreword
As noticed by many photographers around the world Minolta produces high quality products for photographers. What they lack are people capable of writing documentation of reasonable quality. After hearing many discussions like: My camera of this brand is much better that your of that brand! and after seeing many master-pieces of photography shot with some of old all-manual cameras the point I feel as the most important is to get acquainted with the camera you already have (unless its really crippled) and to know exactly what it will do under (almost) any situation and how to make it do what you need and want. I hope that this guide will help us at least a bit to have our Minolta cameras working in this manner. Heres the list of people whose contributions has been included in this guide: Chingfeng Au (cfau1974@hotmail.com)

Flash Auto Program: The Minolta 507si, 600si, and 650si camera selects a ash program when the retractable ash head or an accessory ash unit is activated. However, in Program Exposure Mode with sufcient available light, the camera will not use the ash unless you press and hold the Flash Control Button during exposure. Auto Focus Illuminator: The Minolta 507si, 600si and 650si camera Auto Focus Illuminator light feature of the built in ash or attached accessory ash will not function in C Continuous Auto Focus mode. Auto Metering Features: The metering system of the Minolta 507si, 600si, and 650si camera starts with a proven auto focus-integrated computer rst introduced by Minolta with the xi series cameras. This computer ensures that the light meters main emphasis is on the area in sharp focus. This optimizes exposure for the primary subject. The camera meter is calibrated for medium gray, which is equivalent to an 18 %, reectance. This value was arrived at with the assumption that average photographic subject scenes have a contrast range of 1:32. This is a valid assumption for common outdoor scenes that include grass, dirt, rocks, trees, and sky, for instance. The various reectance values average to a median value with a density of 0.75, or 18 % reectance. The camera meter measures light reected back from the subject through the lens, hence the term TTL Through The Lens metering. This is also the design of all other modern SLR Single Lens Reex cameras. When the camera metering system determines the subject scene to be a landscape, metering emphasis is on the lower section of the frame. In strong backlighting, such as when shooting toward a bright ocean, the camera metering and exposure computer automatically compensate for a bright rendition of the scene. However, with a small subject on bright sand or surf, such as a small boat on a large body of water, expect to need to dial in a 1 EV Exposure Value compensation factor because the camera metering system interprets such a scene as a landscape. When you set the camera to the evaluative 14 Segment Honeycomb Pattern Metering Mode, the camera computer sets its own Exposure Compensation in an attempt to render a bright scene or dark scene accurately on lm. For example, beyond a certain high brightness level, the camera system increases exposure by one EV Exposure Value stop to render the subject as bright. Use the Exposure Compensation feature to assist the cameras Metering system to accurately match your chosen photographic subject scene brightness dynamic range to your chosen lms sensitivity dynamic range: A white surface reects more light than a gray surface approximately two stops more. + Plus EV Exposure Value Compensation will increase the amount of light reaching the lm to render a light photographic subject accurately. A black surface reects less light approximately two stops less. Minus EV Exposure Value Compensation will reduce the amount of light reaching the lm, to render a dark photographic subject correctly. If the range of brightnesses within your chosen photographic subject scene are within the or range of the Viewnder Data Panel scale, then they can be recorded accurately within most lms reproducible dynamic range. Any index reading of 3 or greater will probably be reproduced as white on lm, and any reading of 3 or beyond will probably be reproduced as black on lm. To toggle on/off the viewnder LCD indicator for Exposure Compensation, hold the ISO Button and the Depth Of Field Preview Button. The center-weighted metering is not linked to the auto focus system, nor does it input exposure corrections of its own. Primary emphasis is placed on the subject area within the brackets etched on the viewnder, with much less emphasis on surrounding areas, and none on the top section where sky might be located. Auto Focus Features: In the Minolta 507si, 600si, and 650si camera, program modes are aware of an attached automatic lens focal length. A telephoto lens activates higher shutter speeds, and a wide-angle lens activates smaller apertures. For example, the camera sets a small aperture for a landscape to achieve an extensive range of apparent sharpness. If the AF Auto Focus system detects motion, it sets a high shutter speed such as second to stop action. For a portrait, a moderately wide aperture is set to

1/7.14

integral

1/6.25

3.28 2.85

1/6.25 1/4

55 mm 72 mm
29/16 31/4 31/8 315/16 51/4 51/4 93/8 93/8 811/16

3.3 2.62

1/7.7 1/5.88

55 mm 55 mm

25/213/16 31/16
*85mm f/1.4 7/6 G [RS] *100mm f/2 7/6 100mm f/2.8 7/7 Soft *135mm f/2.8 5/7 135mm f/2.8 8/6 [T4.5] STF *200mm f/2.8 8/7 APO 200mm f/2.8 8/7 APO G [HS] *300mm f/2.8 11/9 APO 300mm f/2.8 11/9 APO G [HS] 300mm f/4 9/7 APO G continued on next page.

1/7.81

1/6.66

1.5 1.5

1/6.66 1/6.66

49 mm 49 mm

25/8 25/8

49 mm 55 mm

29/16 29/16

1/5.88 1/5.88

115/16 115/16 11/2 11/2 19/16 19/16 12/3 213/16 213/16

1/7.7 1/7.7 1/5

55 mm 49 mm 55 mm
25/8 115/16 29/16 111/16 29/3

1/6.5 1/6.5

1/7.7 1/7.7

72 mm 72 mm

31/6 31/6
16mm f/2.8 Fisheye *20mm f/2.8 20mm f/2.8 [RS] *24mm f/2.8 24mm f/2.8 [RS] 28mm f/2 28mm f/2.8 *35mm f/1.4 G 35mm f/1.4 G [RS] *35mm f/2 35mm f/2 [RS] *50mm f/1.4 50mm f/1.4 [RS] *50mm f/1.7 *50mm f/1.7 [RS] *50mm f/1.4 [RS] *85mm f/1.4

215/16

Min. Focus [ft].7

Max. Magnication 1/6.6

Filter (dia.)
Dimensions (dia. length) [in]

Weight [oz]

25/8 201/8 21/8 13/4 13/4
141/10 19/16 19/16 101/16 61/2 169/16 179/16 87/16 81/2 85/16 85/6 85/16 193/8 193/8 1615/16 151/2 127/8 253/4 177/8 177/8 871/2 871/2 493/4
Table 2.4: Zoom lenses Lens Elements / Groups Angle Of View Min. Focus [ft].98

27/8 31/8 27/8 31/8

2.6(.8)

1/8.3(1/4)

211/16 33/8 211/16 33/8

2.6(1.2) 1.3

1/9(1/4)

1/5.88

1/5.55
211/16 23/8 211/16 23/8 27/8 27/8 27/8 27/8 213/16 211/16 31/4 49/16 211/16 21/16 29/16 211/16 27/16 29/16

1/12.3

1735mm 15/12 f/3.5 G 2035mm 13/11 f/3.54.5 *2450mm 7/7 f/4 2450mm 7/7 f/4[RS] *2485mm 14/12 f/3.44.5 2485mm 14/12 f/3.44.5[RS] 24105mm 12/11 f/3.44.5[D] 2870mm 16/11 f/2.8 G *2880mm 7/7 f/45.6 MZ 2880mm 10/10 f/3.55.6 II 2880mm 8/7 f/3.55.6 (D) (S) *2885mm 13/10 f/3.54.5 *2885mm 13/10 f/3.54.5 [RS] *28105mm 13/10 f/3.54.5 MZ 28105mm 13/10 f/3.54.5[RS] continued on next page.

104 63

Max. Magnication

10/9 10/9

1/9 1/9

integral integral

65/8 65/8
400mm f/4.5 APO G 500mm f/8 Mirror Reex *600mm f/4 600mm f/4 G [HS]
. continued from previous page Lens EleAngle ments / Of Groups View

Min. Focus [ft] 9.9

Max. Magnication 1/6.5
103/4 45/8 1711/16 1711/16

67 237/194

Dimensions (dia. length) [in] 31/4 31/23/4
211/16 117/16 101/16 101/16 145/8 145/15/813/16 81/2 611/16

175/16 175/16

171/8 171/8
23/4 33/4 27/8 315/16 27/8 4
27/8 33/16 31/2 69/16 31/2 69/16

1/3.84

27/8 315/16 23/4 311/16 23/4 311/16 27/8 67/16 213/16 413/16 213/16 413/16 213/16 413/16

5(1.34) 2.8

1/12.5(1/4) 1/6.5
*3580mm 8/8 f/45.6 3580mm 8/8 f/45.6 II *35105mm 12/14 f/3.54.5 *35105mm 12/10 f/3.54.5N *70210mm 9/12 f/4 *70210mm 12/12 f/3.54.5 *70210mm 10/10 f/4.55.6 MZ 70210mm 10/10 f/4.55.6 II *75300mm 13/11 f/4.55.6 75300mm 13/10 f/4.55.6 75300mm 13/10 f/4.55.6 II 75300mm 13/10 f/4.55.6 (D) (S) *80200mm 9/9 f/4.55.6 *80200mm 16/13 f/2.8 APO 80200mm 16/13 f/2.8 APO G[RS] *100200mm 8/7 f/4.5 *100300mm 11/9 f/4.55.6 *100300mm 11/10 f/4.55.6 APO continued on next page.

1/14.3(1/4) 1/5.7

3.3(1)
*28135mm f/45.6 3570mm f/3.54.5 MZ 3570mm f/4

5 (.82)

1/11(1/4)
. continued from previous page Lens EleAngle Of ments / View Groups

Min. Focus [ft]

Dimensions (dia. length) [in] 215/16 45/16 211/16 21/2 211/16 21/16 29/16 215/16 27/16 210/16 211/16 37/16 211/16 25/16 27/8 6
267/16 73/4 91/16 67/8 53/8 171/2 73/4 241/13/16 123/8 111/4 301/2 181/2 171/4 161/4

109/16 451/8 451/8

131/4 147/16 153/8
These lenses have the same glass as the previous MZ models. No Focus scale. No focus lock button. Table 2.5: Macro lenses Lens Elements / Groups 7/6 7/6 5/5 8/8 8/8 8/8 13/8 7/5 Angle Of View
Size of subject that lls the lm plane. Table 2.6: Teleconvertors Lens *1.4 APO

continued on next page.

1.4 II APO [HS]

Elements / Groups 5/4

Dimensions (dia. length) [in] 21/2 13/16

Weight [oz] 63/16

Compatibility 200 f/2.8 APO G 300 f/2.8 APO G 300 f/4 APO G 400 f/4.5 APO G 600 f/4 APO G 200 f/2.8 APO G 300 f/2.8 APO G

3/1 1/1

33/8 45/8 33/4 (W H D)

mm (3X) mm (1X)

1 (3X) 1.6 (1X)

.75 1.2 1.2

1/2 1/1 1/1

55 mm 55 mm 55 mm

25/8 23/16 213/16 37/8 213/16 37/8 37/8 72/3
*50mm f/2.8 50mm f/2.8 [RS] 50mm f/3.5 *100mm f/2.8 100mm f/2.8 [RS] 100mm f/2.8 (D) 200mm f/4 APO G Zoom f/1.7 2.8

211/16 25/16 23/4 23/8

Min. Focus [ft].65.65

Max. Magnication 1/1 1/1

31/8 57/8
100300mm f/4.55.6 APO (D) 100400mm f/4.56.7 APO

Dimensions (dia. length) [in] 27/8 4
105/16 117/185/16 185/403/16 3813/16
. continued from previous page Lens Elements / Dimensions (dia. Groups length) [in]
Compatibility 300 f/4 APO G 400 f/4.5 APO G 600 f/4 APO G 200 f/2.8 APO G 300 f/2.8 APO G 300 f/4 APO G 400 f/4.5 APO G 600 f/4 APO G 200 f/2.8 APO G 300 f/2.8 APO G 300 f/4 APO G 400 f/4.5 APO G 600 f/4 APO G
Manual focus only Table 2.7: xi zoom lenses Lens Elements / Groups Elements/ Groups 8/8 Angle Of View Min. Focus [ft] Min. Focus (ft) 1.6

Angle of View

Sold with xi cameras. Not true xi lens as zoom drive was camera AF motor. No motor in lens.

2.3.1 G Series

G-series lenses are Minoltas high-performance class optics. They have the best specications, feature special advanced technology, and offer the best image quality of all Minolta lenses. G-series lenses are designed to meet the high expectations of the most demanding professional. The quality of the image they produce is among the nest in the industry. Each G-series lens incorporates one or more of the following features: circular aperture, double oating and oating-focusing systems, Internal focus, Anomalous Dispersion (AD) glass, aspheric elements, and
215/16 311/16 27/8 33/16 215/16 315/16
1.6 (f/28) 1.6 (f/35) 4.9

213/16 25/8 27/8 3

*3580mm f/45.6 Power Zoom *2880mm f/45.6 *28105mm f/3.54.5 *35200mm f/4.55.6 *80200mm f/4.55.6 *100300mm f/4.55.6

II APO [HS]

111/16
Dimensions (dia. length) [in] Dimensions (in) (dia. length) 25/8 21/8

Weight (oz)

911/16 157/8 175/8 109/16 151/2
focus-hold buttons. Minolta will continue to expand its G-series as the needs and demands of professional photographers grow. Table 2.8: G lenses (I) AF 1735mm f/3.5 APO Circular Aperture Floating focus Internal Focus Anomalous Dispersion Glass Asperhic Elements Focus Hold Button Yes No No Yes Yes Yes AF 35mm f/1.4 Yes Yes No No Yes No AF 85mm f/1.4 (D) Yes Yes No No No Yes AF 2870mm f/2.8 Yes Yes No No Yes Yes AF 80200mm f/2.8 APO Yes No No Yes No Yes
Table 2.9: G lenses (II) AF 200mm f/2.8 APO No No Yes Yes No Yes AF Macro 200mm f/4 APO Yes No Yes Yes No Yes AF 300mm f/2.8 APO No No Yes Yes No Yes AF 300mm f/4 APO Yes No Yes Yes No Yes AF 400mm f/4.5 APO Yes No Yes Yes No Yes AF 600mm f/4 APO No No Yes Yes No Yes

Circular Aperture Floating focus Internal Focus Anomalous Dispersion Glass Asperhic Elements Focus Hold Button
Table 2.10: G lenses (III) Lens Elements / Groups Angle Of View Min. Focus [ft] 1 2.30 4.9 8.2 8.2 9.9
23/8 51/4 51/16 93/8 39/16 811/16 41/4 103/4
35mm f/1.4 G 10/8 85mm f/1.4 G 7/6 (D) 200mm f/4 13/8 MACRO APO G 200mm f/2.8 8/7 APO G 300mm f/2.8 11/9 APO G 300mm f/4 9/7 APO G 400mm f/4.5 9/7 APO G continued on next page.

f/22 f/22

Dimensions (dia. length) [in] 29/31/16 213/16 31/8 72/3

169/16 193/4 403/16

177/8 871/2 493/4 67

2.3.2 D-Series

D-Series lenses include new distance-encoding device which enables improved calculation for ash exposure with Maxxum 5 and 7 cameras when used with 3600HS D and 5600HS D ashes. Table 2.11: D lenses Lens Elements / Groups 12/11 8/7 Angle Of View Min. Focus [ft] 1.6
Manual focus ring does not rotate during AF
2.3.3 RS = Re-Styled Lenses
Fixed Focal Length Lenses AF 20mm f/2.8 RS Rubber focusing grip. Circular aperture up to f/5.6. Revised Foot/Meter focus scale in all white paint. The new lens is optically the same as the original. AF 24mm f/2.8 RS Rubber focusing grip. ABS plastic focusing barrel. Circular aperture up to f/5.6. Revised Foot/Meter focus scale in all white paint. The new lens is optically the same as the original. AF 35mm f/1.4 RS AF lock/lens function button on lens. Rubber focusing grip. Circular aperture up to

31/5 213/16 213/16 37/8

213/16 413/16 4
24105mm f/3.54.5 (D) 2880mm f/3.55.6 (D) (S) 75300mm f/4.55.6 (D) (S) 100300mm f/4.55.6 APO (D) 85mm f/1.4 G (D) 100mm f/2.8 Macro (D)
Dimensions (dia. length) [in] 25/8 25/8 27/16 29/16
1735mm f/3.5G 2870mm f/2.8 G 80200mm f/2.8 APO G

600mm f/4 G

Dimensions (dia. length) [in] 65/8 1711/16 31/4 31/5 31/4 49/16 31/2 69/16

194 211/16 267/16 451/8

13 15/16 611/16

171/10

193/4 18
f/5.6. Revised Foot/Meter focus scale in all white paint. The new lens is optically the same as the original. AF 35mm f/2.0 RS Rubber focusing grip. Circular aperture up to f/5.6. Revised Foot/Meter focus scale in all white paint. The new lens is optically the same as the original. AF 50mm f/1.7 RS Rubber focusing grip. ABS plastic focusing barrel. Foot/Meter focus scale in all white paint. The new lens is optically the same as the original. AF 50mm f/1.4 RS Wider rubber focusing grip. ABS plastic focusing barrel. Circular aperture. Large, detachable lens shade. Foot/Meter focus scale in all white paint. 55mm lter thread. The new lens is optically the same as the original. AF 85mm f/1.4 RS AF lock/lens function button on lens. Rubber focusing grip. Circular aperture up to f/5.6. Revised Foot/Meter focus scale in all white paint. The new lens is optically the same as the original. Zoom Lenses 24-50mm f/4 RS Rubber focusing grip. ABS plastic focusing barrel. Foot/Meter focus scale in all white paint. The new lens is optically the same as the original. 24-85mm f/3.5-4.5 RS Circular Aperture. New style rubber focusing and zoom grips. The new lens is optically the same as the original. 28-85mm f/3.5-4.5 Introduced with 9xi in 1992. Polycarbonate barrel. Faster focusing.* 28-105mm f/3.5-4.5 RS Circular Aperture. New style rubber focusing and zoom grips. The new lens is optically the same as the original. 80-200mm f/2.8 APO HS The 80-200mm f/2.8 APO received a stronger focusing shaft which enabled better focus tracking, a rubber focusing grip for easier manual focus, and white paint nish. Macro Lenses 50mm f/2.8 Macro Rubber focusing grip. ABS plastic focusing barrel. Circular aperture. Focus Range limiter. Focus hold button. 100mm f/2.8 Macro Rubber focusing grip. ABS plastic focusing barrel. Circular aperture. 40 HS = High Speed APO Lenses 200mm f/2.8 APO

300mm f/2.8 APO 600mm f/4 APO 80200mm f/2.8 APO
These lenses were redesigned in 1988 for the Maxxum Series-i cameras. Internal changes include a faster focusing gear and a new IC ROM to enable faster focusing with Series-i, xi, and si cameras. External changes include AF lock/lens function button (one for 200mm, two for 300mm and 600mm lenses), and High Speed Focus decal on lens shade. Additionally, the 80200mm f/2.8 APO received a stronger focusing shaft which enabled better focus tracking, a rubber focusing grip for easier manual focus, and white paint nish.

APO Tele Converter

The converters were redesigned with new gear and IC ROMs. External changes include TYPE II designation. It is OK to use old-style converters on new lenses. Using a new converter on an old, nonupgraded lens will cause slower focusing Warning: THE APO CONVERTERS CANNOT BE USED WITH THE 80-200MM APO LENSES. If mounted together, the front element of the converter will contact back element of the lens and damage both.
2.3.4 Maxxum Lens Glossary
Circular Aperture Defocused background highlights take the shape of the diaphragm in wide-aperture portrait shots. The 9-blade apertures found in some of the G-lenses is specially designed to provide a circular opening at widest apertures (small f-numbers). A circular aperture produces softer, more natural-looking backgrounds at wider apertures than a lens having a standard 5-, 6-, 7-, or 9-bladed aperture. Floating Optical Design Rather than moving all lens groups as a single unit, designated optical groups in some of the G-lenses move independently as the lens focuses. This oating movement provides an extremely at image at the lm plane thus assuring corner-to-corner sharpness. It also provides a high degree of control over sagittal are, and eliminates coma, an aberration that causes off-axis object points to appear as short comet-like images on lm. Reducing sagittal are and coma provides an extremely sharp, high-contrast image which more effectively separates the subject from its background at large apertures. Internal Focusing The AF 200mm, 300mm, and 600mm APOs internal focusing system moves lighter internal lens elements to focus the image instead of the larger front elements used in conventional systems. This along with a high-ratio lens drive provides quick, accurate focusing of fast moving subjects. In addition, a focus limiter permits selecting a focusing range for even faster response. Anomalous Dispersion (AD) Glass Different wavelengths of light come into focus at different planes. This effect is know as Chromatic aberration and can cause a rainbow halo around points of light and reduced sharpness. Standard achromatic telephotos are corrected to bring the red and blue components into focus at the lm plane. The Anomalous Dispersion (AD) glass, used G-Series APO telephotos and zooms as well as the 100-300mm APO and 100-400mm APO virtually eliminates the effects of lateral and longitudinal chromatic aberration, providing increased sharpness and extremely accurate color rendition. Aspheric Design Different than the smooth continuous arc of a normal lens element surface, the curvature of an aspherical lens element changes shape across its surface. This irregular surface helps to correct spherical aberration and coma, an aberration that causes off-axis object points to appear as short comet-like images on lm. It also reduces sagittal are. The inclusion of aspheric elements in a lens design enables designers to reduce the amount of elements in the design. This in turn reduces the amount of are producing surfaces, two per element, which increases the contrast and snap to the nal image. The reduction in elements also makes the lens smaller and lighter. Focus-Hold Button When pressed, it locks focus or can be used to select spot focus or continuous AF (with Custom Function Card or Customize Function Card xi). Distance Encoding Distance encoding with new and revised D lenses provides rened multi-segment metering for manual focus operation and depth-of-eld display on Navigation Display with the Maxxum 7 as well as ADI ash functions when the new 5600(D) and 3600(D) ashes. Integral Filters Because a front-mounted lter would be expensive and would cause excessive are, the 300mm and 600mm Apo lenses have a built-in lter holder. Six lters are provided: NORMAL (clear), Y52 (yellow), O56 (orange), R60 (red), 1B (skylight) and ND4X (2-stop neutral density). Achromatic Coating Minoltas Achromatic, multi-layer coating provides remarkably accurate color rendition and excellent contrast by virtually eliminating reections between lens elements.

Chapter 3

Flash-less photography
3.1 Photographing with M42 / Minolta AF lens reduction

[Author(s): Petr Holub.]

Needs more testing!!! Tested in following setup: Date: 20020813 20:3023:30. Place: Flamenco concert, Brno, CZ
Minolta Dynax 600si Russian mirror lens: 500/6.3 3M-6A (or ZM-BA Russian alphabet???) N840247 with M42 M42 / Minolta AF lens reduction Fuji Superia 1600 (with 4th layer) pushed to 3200 ASA
Testing showed that metering doesnt work correctly. System tends to underexpose at least 1 EV. Also working conditions during this experiment were difcult because of overall low-light situation (correct exposition was about 5.6/20 with 3200 ASA lm!) and strong spotlight. After that I tried to play with it using different metering modes and comparing results to the ones measured through the standard lens I use (2485/3.54.5 and 70210/3.5-4.5) but without actually shooting on the lm. Ive found the measurements through the M42 reduction generally not very reliable (in all three modes average, expert, and spot) with tendency to underexpose which matches experiences from the amenco concert. To get proper exposure I suggest using either other light measurement (through other lens or using external exposure meter) or bracket through 2 5. It should be tested more thoroughly, especially inuence of different metering modes and the results should be shot on slide lm to get precise results.

3.1.1 Comment on M42

[Author(s): Magnus Wedberg.]
My own testing indicates that using M42 lenses on Minolta bodies is somewhat hit-and-miss. Results seems to heavily depend on which lens you are using, and on the camera, too. I never use any compensation with my Super Takumar 55/2.
3.2. MORE ON PHOTOGRAPHING WITH M42 / MINOLTA AF LENS REDUCTION
3.2 More on photographing with M42 / Minolta AF lens reduction
[Author(s): Chingfeng Au. Reviewed by: Petr Holub.]

Part 1

This is just a fast test. All metering were segment metering (maybe I should use spot instead of segment) http://auching.duc.auburn.edu/TEMP/pentax_minolta.htm
In F8.0 test, Pentax SMC Takumar under about 1.5 EV 2.0 EV. But when I set the aparture to F1.4, the shutter time seems near correct. When using ash, it works well though.
F IGURE 3.1: Results of M42 adapter tests (1)

Part 2

Heres the test base on Minolta 50/1.7 and Pentax SMC Takumar 50/1.4. It looks like you have to +1EV for F2.8 F5.6, +1.5EV for F8.0 F11.0, and +2EV for F16.0 http://auching.duc.auburn.edu/temp/m50p50.gif
Test using aparture priority mode. (I still dont know why this happened? Theoretically, using aparture priority mode and spot metering, the TTL system should get correct amount of light and calculate correct shutter time, isnt it?)

3.7.3 Building your own Remote Cord (v. 3)
[Author(s): Dario Piantanida, taken from Minolta AF FAQ [4].]
(Using an audio cable for the internal connection of CD-ROM drives.) First cut che cd-rom connctor on the cd-rom side, to have a 20-30cm wire for the RC: on this side youll mount the button or the switch (or both). On the audio card side youll nd a 4 pin plastic connector made like this: r - w s
where r=red, -=none, w=white, s=shield (colours dont matter, but its just to number the pins). Youll work to obtain: 3 r - w With a very little scewdriver push a little thin strip that holds the metal shield contact in the plastic connector: this way the metal contact should slip off the connector. Now you can cut the shield wire where it joins red and white ones. Your next step is to le down the plastic connector to make it t the camera hole. First of all you can cut away the old shield contact with a sharp knife (I dont know the English for the knife I mean), then use a le or sandpaper to reduce the size of the connector; I started with a grindstone, but be VERY careful: if you exaggerate youll have to start over with a new connector. Here there is little to say: le a bit and try whether it ts; then le another bit. Youll have to le a lot on the long side that holds the thin strips of the metal contacts. Youll also pay attention to a little notch in the camera hole: try to le the connector to t it. Once you have the connector, I suggest you to strengthen the wires (red and white) that come from it: I used a glue gun (I hope the English is correct here) to create a shell for the wires. Nothing more. This RC works properly on my 700si, even as a bulb switch.

Chapter 4

Flash photography

4.1 FlashAmbient Control

[Author(s): Phil Brandon. Reviewed by: Petr Holub.]
This section is copy of one found on the web [16] (hopefuly I dont violate any copyright by including it in this guide). Its written by Phil Brandon from Minolta USA about 700si and paritally 800si but it seems to work for my 600si as well so its probably general a bit. On the bottom of the web page [16] there are some other notes probably about 800si. It would be really nice if somebody who speaks both Thai and English translates those in English. Whether using its built-in ash or an attached accessory ash, the Expert Flash system of the 700si is designed to recognize basic lighting conditions and adjust ambient light settings and ash duration to achieve the best results automatically. The table 4.1 on page 26 indicates adjustments made for all situations

4.1.1 P Mode Flash

When the ash is up or any dedicated accessory ash is attached to the 700sis hot shoe, either directly or through accessory connectors, it will re automatically in P mode whenever necessary. The shutter speeds between 1/200 and 1/60 second and apertures within the working range of the lens will be set automatically depending on the ambient light level. The cameras TTL ash metering system monitors the amount of light which reaches the lm plane and automatically stops the ash output when it detects that sufcient exposure has been received. In backlight conditions requiring ash or when the forced-ash button is pressed, the ambient light exposure of the subject will be reduced by approximately one stop and the ash brightness will be reduced from 1/4 to 3/4 stop to maintain proper subject exposure. The background will be up to 1-1/2 stops brighter than the subject exposure. When the SPOT button is pressed for slow-sync ash photography, ash brightness is reduced by 3/4 stop and shutter is set to a speed slow enough to allow normal background exposure. The ash will not re if the 700si is set for either PA or PS modes. Press the MODE button to resume normal P Mode ash operation. Changing Program Flash Control with the Custom xi card Normally the 700sis exposure computer will decide when to use ash even if the built-in ash is popped up or an accessory ash is attached and turned on. If you would like the ash to re everytime the ash is lifted, use the Custom xi card to switch the Program ash control to manual switchover. The table 4.2 shows the function number and setting to make.

Since the Wireless IR ash controller will also PREVENT you from using off-camera high-speed synch on the Dynax 7, there is no really good reason to buy one. I have found it to be very useful in only one situation which is not very common: When using Minolta wireless ashes in manual mode (say, in a studio situation), and you want to use a ashmeter to measure the light hitting the subject, the in-band signals used to control the off-camera ashes will interfere with the handheld ashmeters reading. Since most ashmeters employ IR lters near the sensor, using the wireless IR ash controller will completely eliminate this problem. I have found the 5600HS ashes to be excellent wireless studio ashes, by the way. Check out some samples at my other website, http://www.NotYourOrdinary.com. Great examples of using wireless ash can be found on Garys web site [18]. Similar experiences of other people can be found here: [3, 15] and quite thorough guide by Gary Walts [15].

Appendix A

Flash-less experiments
A.1 INI les for Minolta DiMAGE Scan Dual with VueScan
A.1.1 Settings for Fuji Provia 100F
[VueScan] [Device] OptionTypes=2 DiskFileName=scan0007.tif [Device-ScanDual-35mmSlide] PreviewResolution=3 ScanResolution=2 Rotation=2 NumberOfSamples=3 LongExposurePass=1 LockExposure=1 RGBExposure=1950 InfraredExposure=2508 PreviewExposure=1950 [Crop-ScanDual-35mmSlide] CropSize=1 XSize=2768 [Color-ScanDual-35mmSlide] ColorBalance=0 [Color] SlideVendor=1 [Files-ScanDual-35mmSlide] ImageUnits=1 ImageSize=18 [Files] TIFFFileName=scan0001+.tif TIFFFileType=4 RawFileName=scan0001+.tif RawFileType=4 [Prefs] ExternalViewer=0 WindowXOffset=0 WindowYOffset=0
A.1. INI FILES FOR MINOLTA DIMAGE SCAN DUAL WITH VUESCAN
WindowXSize=1280 WindowYSize=1024
A.1.2 Settings for Konica Centuria 100
[VueScan] [Device] Mode=1 [Device-ScanDual-35mmFilm] Rotate=3 [Color] ColorBalance=1 AutoBlackPoint=0 BlackPointRed=0 BlackPointGreen=0 BlackPointBlue=0 AutoWhitePoint=0 WhitePointRed=40 WhitePointGreen=40 WhitePointBlue=40 [Media] SlideVendor=1 [Media-ScanDual-35mmFilm] AutoMask=0 MaskRed=837 MaskGreen=999 MaskBlue=921 [Crop-ScanDual-35mmFilm] AutoCrop=0 XOffset=750 YOffset=1209 CropSize=0 XSize=23004 YSize=34631 XSpacing=49998 YSpacing=49998 [Options-ScanDual] RGBExposure=901 NumberOfPasses=4 Filter=2 SizeReduction=4000 [Files] TIFFFileName=scan01+.tif [Window] ExternalViewer=0 BeepWhenDone=1
A.1.3 Settings for Konica Centuria 200
[VueScan] [Device] Mode=1 [Device-ScanDual-35mmFilm] Rotate=3
[Color] ColorBalance=1 AutoBlackPoint=0 BlackPointRed=0 BlackPointGreen=0 BlackPointBlue=0 AutoWhitePoint=0 WhitePointRed=40 WhitePointGreen=40 WhitePointBlue=40 [Media] SlideVendor=1 [Media-ScanDual-35mmFilm] AutoMask=0 MaskRed=799 MaskGreen=998 MaskBlue=828 [Crop-ScanDual-35mmFilm] AutoCrop=0 XOffset=750 YOffset=1209 CropSize=0 XSize=23004 YSize=34631 XSpacing=49998 YSpacing=49998 [Options-ScanDual] RGBExposure=901 NumberOfPasses=4 Filter=2 SizeReduction=4000 [Files] TIFFFileName=scan01+.tif [Window] ExternalViewer=0 BeepWhenDone=1

A.1.4 Settings for Konica Centuria 400
[VueScan] [Device] Mode=1 [Device-ScanDual-35mmFilm] Rotate=3 [Color] ColorBalance=1 AutoBlackPoint=0 BlackPointRed=0 BlackPointGreen=0 BlackPointBlue=0 AutoWhitePoint=0 WhitePointRed=40 WhitePointGreen=40 WhitePointBlue=40
[Media] SlideVendor=1 [Media-ScanDual-35mmFilm] AutoMask=0 MaskRed=800 MaskGreen=880 MaskBlue=774 [Crop-ScanDual-35mmFilm] AutoCrop=0 XOffset=750 YOffset=1209 CropSize=0 XSize=23004 YSize=34631 XSpacing=49998 YSpacing=49998 [Options-ScanDual] RGBExposure=977 NumberOfPasses=4 Filter=2 SizeReduction=4000 [Files] TIFFFileName=scan01+.tif [Window] ExternalViewer=0 BeepWhenDone=1
A.1.5 Settings for Konica VX 100
[VueScan] [Device] Mode=1 [Device-ScanDual-35mmFilm] Rotate=3 [Color] ColorBalance=1 AutoBlackPoint=0 BlackPointRed=0 BlackPointGreen=0 BlackPointBlue=0 AutoWhitePoint=0 WhitePointRed=40 WhitePointGreen=40 WhitePointBlue=40 [Media] SlideVendor=1 [Media-ScanDual-35mmFilm] AutoMask=0 MaskRed=685 MaskGreen=993 MaskBlue=820 [Crop-ScanDual-35mmFilm] AutoCrop=0 XOffset=750
YOffset=1209 CropSize=0 XSize=23004 YSize=34631 XSpacing=49998 YSpacing=49998 [Options-ScanDual] RGBExposure=901 NumberOfPasses=4 Filter=2 SizeReduction=4000 [Files] TIFFFileName=scan01+.tif [Window] ExternalViewer=0 BeepWhenDone=1
A.1.6 Settings for Fuji Superia 1600
[Media] SlideVendor=1 [Device-ScanDual-35mmFilm] Rotate=3 [VueScan] [Device] Mode=1 [Color] AutoBlackPoint=0 BlackPointRed=0 BlackPointGreen=0 BlackPointBlue=0 AutoWhitePoint=0 WhitePointRed=40 WhitePointGreen=40 WhitePointBlue=40 ColorBalance=3 ImageBrightness=500 [Media-ScanDual-35mmFilm] AutoMask=0 MaskRed=658 MaskGreen=925 MaskBlue=648 [Crop-ScanDual-35mmFilm] XOffset=958 YOffset=1417 XSize=23004 YSize=34631 XSpacing=49998 YSpacing=49998 AutoCrop=0 CropSize=0 [Options-ScanDual] NumberOfPasses=2 RGBExposure=1559
A.2. RECIPROCITY CORRECTIONS BROOKS INSTITUTE
Filter=2 [Files] TIFFFileName=scan01+.tif [Window] ExternalViewer=0 BeepWhenDone=1
Reciprocity Corrections Brooks Institute

[Author(s): Unknown.]

Table A.1: Reciprocity Corrections Brooks Institute (1/2) M.R. 1.0 1.2 1.6 2.0 2.5 3.2 4.0 5.0 6.4 8.323 Ektachrome 64T NA NA NA NA NA NA NA NA NA NA NA NA NA NA NA NA NA NA Fujichrome 64 Tung. 1.0 1.2 1.6 2.0 2.7 3.5 4.7 6.0 8.Kodachrome 25 1.5 2.0 2.5 3.8 5.0 6.5 9.Kodachrome 64 1.0 1.2 2.0 3.0 4.8 7.129 Fujichrome 50 1.0 1.2 1.6 2.0 2.5 3.4 4.Fujichrome 100 1.0 1.2 1.6 2.0 2.5 3.3 4.3 5.7 7.29 45

Table A.2: Reciprocity Corrections Brooks Institute (2/2) M.R. Velvia Ekta100+ 1.0 NA NA 1.2 NA NA 1.6 NA 1.8 2.0 NA 3.0 2.5 3.8 4.5 3.2 4.1 6.6 continued on next page. Ekta200 1.2 1.5 2.2 2.8 3.6 4.8
. continued from previous page M.R. Velvia Ekta100+ Ekta200 4.0 4.9 9.0 6.3 5.0 6.8.2 6.4 8.11 8.1011 1045

Appendix B

Flash experiments
B.1 Wireless ash experiment

B.1.1 Experiment setup

Basic experiment information: Date: 20020811 11:00am
Place: Brno, CZ Minolta Dynax 600si, 2485/3.54.5 set to 85 Kodak ProFoto 100 (expiration 07/2004), scanned on Noritsu QSS-2901 digital minilab/scanner in Base4 resolution (theoretically 1536x1024, actually 1486x1024)

ambient light

heavy cloudy, spot metering on windows made 5.6/8 on average and 5.6/45 at maximum experiment performed indoors with setup pictured on Fig. B.1 setup for each picture is summarized in Tab. B.1 observation of camera and ash behavior are summarize in Tab. B.2 resulting pictures are in Tab. B.3 Table B.1: Wireless ash experiment setup # aperture/speed position 5.6/5.6/5.6/5.6/60 5400HS 5 5.6/60 3600HS(D) 6 5.6/60 3600HS(D) 7 5.6/60 5400HS 2:[1] 8 9.5/60 5400HS 9 9.5/60 5400HS 2:[1] continued on next page. position 2 built-in 5400HS wireless control 5400HS wireless control 2:[1] built-in built-in built-in built-in built-in built-in position 3 3600HS(D) 3600HS(D) 3600HS(D) 3600HS(D) 5400HS 5400HS 2:[1] 3600HS(D) 3600HS(D) 3600HS(D)
B.1. WIRELESS FLASH EXPERIMENT
. continued from previous page # aperture/speed position 9.5/5.6/5.6/5.6/60
position 2 5400HS wireless control + ash button 5400HS wireless control + ash button 5400HS wireless 5400HS
position 3 3600HS(D) 3600HS(D)
Experiment results and discussion
Table B.2: Wireless ash experiment: observations of camera and ashes behavior
before exposure blinking alternately glowing glowing
after exposure blinking blinking blinking
blinking alternately blinking alternately blinking alternately
blinking blinking blinking

blinking alternately

blinking
blinking alternately blinking alternately glowing blinking alternately glowing glowing
blinking blinking alternately glowing blinking blinking blinking
test ash (AEL button) one starting ash (on-camera) and one ash (off-camera) one starting ash (on-camera) and one ash (off-camera) one starting ash (on-camera) and two simultaneous ashes (off- and on-camera) one starting ash (on-camera) and two ashes (off-camera) one starting ash (on-camera) and two ashes (off-camera) one starting ash (on-camera) and two ashes (off-camera); 5400HS ashes approx. 0.5 sec after 3600HS(D) one starting ash (on-camera) and two ashes (off-camera); 5400HS ashes approx. 0.5 sec after 3600HS(D) one starting ash (on-camera) and two ashes (off-camera) 5400HS ashes approx. 0.5 sec after 3600HS(D) undistinguishable from case 1 and 2 undistinguishable from case 1 and 2

Camera bodies

Dynax/Maxxum 600si [10] Minolta 600si Board FAQ, http://w3.one.net/georgek/minolta/MPG/600SI/ [11] Minolta Dynax 600si Brochure, http://www.geocities.com/minolta600sibrochure/minolta600si-brochure-01.html [12] Peter Blaise Monahon, Minolta Alpha 507si and Dynax Maxxum 600si 650si Classic and Panorama Date Photography, http://www.geocities.com/minolta507si600si650si/index.html

BIBLIOGRAPHY

[13] Photodo Minolta lens tests, http://www.photodo.com/prod/lens/minolta.shtml\#Minolta [14] Minolta 35mm F2.8 SHIFT CA Lens, http://members.aol.com/cldphoto/shift_ca.html
[15] Walts, G. Minolta Photographs by Gary Walts Minolta Photographer, http://home.imcnet.net/waltsman/flash.html [16] Brandon, P. Flash Exposure by Phil Brandon from Minolta USA, http://www.geocities.com/minoltacamera/tip/0004.html [17] Greely, J. Tech notes from Glamourcons, http://www.munitions.com/jgreely/ [18] Friedman, G. Friedman Archives Wireless Flash Examples, http://FriedmanArchives.com/flash.htm
Interesting books on photography
[19] Burian P. K., Caputo R. National Geographic photography eld guide: secrets to making great pictures, National Geography Society (U.S.), 1999, ISBN 0-7922-7498-9 (reg.) or 0-7922-7496-2 (dlx.)